Listening to someone tell a story is an experience common to all. This is where I drew the idea of Stories Told (Robin Dawes, text) who wants to explore the act of telling. But instead of being a particular story, the text is written in a computer-generated pseudo-language. It is known to give the impression of a real language, but it takes its importance in Told Stories as a signifying word. All listeners, regardless of their language or culture, share the experience of listening to a story told in a foreign language. The text was produced by software programmed by Robin Dawes. His software uses a statistical analysis of the Oxford English language dictionary to produce new words that have the same distribution attribute as the letter combinations of English. These words have been grouped into phonetic classes to create four distinct 'dialects'.

Recording of Wolfgang Foag's, Deus ex Kommagena. This piece is built up as a "triptychon", combining a church tune with a harsh melody figures and chords in the central part. The recording equipment includes: studiomaster 12/2B, TEAC 80/8, FOSTEX 20. The instruments heard are Sequential Circuits Multitrack, Yamaha TX81-Z, Washburn Delay WD1400, Yamaha MCS2.

Haris XANTHOUDAKIS: 1 ... 789 It is the setting to music (of the "setting in rhythm", more precisely) of two Greek texts talking about the French revolution and illustrating two opposite aspects of its impact in Greece, still occupied by the Turks, of the end of the seventeenth century: a "Patriarchal letter" (sort of circular of the Patriarch of Constantinople, to read in the Orthodox churches), condemning the French who "practiced the fraticide, killed their king and lost their faith in God" (in this order) and, on the other hand, a poem by Antonios Martelaos (1754-1818), congratulating the French for having shed blood for the freedom of the people. The first text is played at the beginning and end of the song (phonetically reversed and in a normal voice, respectively). The other forms slowly, parallel to a rhythmic accompaniment, of "disco" nature. This double reconstitution will be done in steps of proportion 1: 2: 3: ...: 7: 8: 9. A portion of this proportion, namely 1: 7: 8: 9, serves to generate an interval pattern (semitone, fifth, sixth minor, sixth major) that appears in both its sequential and simultaneous forms. Repetitive music, "disco" music, serial music, for a piece that …

Recording of Jean-François Cavro's 3 divertissements numériques (1 franchir le rubicon, 2 fission, 3 mange ta télévision). This work is created with electronics and uses traditional electronic technique. There is present noise elements within this work's texture, which establish a good balance within the orchestration of sound. By working with electronic sound effects and pre-recorded sounds of many qualities or frequencies, balance is found.

For being the round world, who walks away in the East looking for new landscapes, after many trips and adventures he will return to the starting point from the West ... perhaps without wanting to or looking for it. By listening to these 4 instrumental pieces, you will think that they consist of an interpretation made for traditional music instruments. However, for me, the composer is nothing but a new experience in the field of technological music. In this case the experimentation consists of a program that improvises, plays, exchanges in many different ways an initial succession of tones giving rise to very different sound tissues. It is an experiment of the same complexity and quality as others that I have used in the past and that have given me totally different sound results. In this case the experimentation uses shades of defined and adjustable height, creating clear intervalic, acordic, polyphonic organizations, etc. In this domain, a similarity with instrumental music is inevitably obtained. I did not want to avoid this reality using bands of noise or continuous changes of harmonicity, but, on the contrary, I highlight the winter using homogeneous sounds that parody some known acoustic instrument. The four …

Recording of Bernard Fort's 12 haiku pour la paix céleste. This piece is for 12 haikus for celestial peace. Haikus are very short Japanese poems which with reading, demonstrate the way of photography, as moments, sensations and feelings. There is a wide variety of both synthesized sounds and manipulated samples.

Recording of Juan Blanco's 1789-1989. This piece aims to expose how the French Revolution, through the Declaration of the Rights of Man and of the Citizen, inspired the liberation movements of the people against the oppressive and tyrannical governments. The piece is divided into two parts, which give a sound panorama of the triumph, using electronic and acoustic equipment, the latter taken from songs of the time: "Departure to Place de la Bastille"; "Place and capture of the Bastille", "Lamentation of Louis XVI" and "The Permanent Guillotine", and ends with a few words from the Declaration of 1789, in French.

Ivan PATACHICH: 1789 Libegal FRA The title of the play is a date, known throughout the world, and an acronym containing the first syllables of the three slogans of the French Revolution: FREEDOM, EQUALITY, FRAternity. The sound materials of the play are those three words spoken and sung in nine languages, French, English, Spanish, Chinese, Arabic, German, Erithrenic, Russian, Hungarian, and the sampled structures of the vowels and consonants of these notes in nine languages, as well as two concrete sounds. These sounds are interlaced by a pre-recorded and modulated percussion part and another one of percussion "alive" / live / without modulation. The work has nine parts "atacca". Its bridge shape is phrased by rhythmic contrasts. After the fifth section, the sections return "in crayfish", but in a varied form. The stereophonic work was realized with the collaboration of Istvan Horvath, sound engineer, Gabor Kosa, impact, Agnés Mester, -soprano, Gabor Olah, -Baryton.

Picture yourself travelling at ease on the train. As you look through the window, you notice the power cables, which run parallel to the tracks. As your eyes follow them, they seem to turn giving the impression of a volume that gently and continuously rotates as it changes shape. This flow seems to accelerate before being momentaneously interrupted by the posts that hold them at more or less regular distances; this is immediately followed by the previous soft change as you recapture the perspective of the hanging cables. Of course, you easily deduct how the illusion works and soon are off onto something else more productive. But imagine you were in a position to determine a few things beforehand, says the distance between posts. Or, if you are of the impulsive "hands on" type, imagine you were able to change the speed of the train instantaneously at your will. You would then be able to effect changes in the evolving pattern of the cables and on the rate of the change itself, thus giving the whole illusion a direction and a life of its own right in front of your eyes. In Acuerdos por Diferencia I have attempted to draw …

Recording of Annette Vande Gorne's Aglavaine ed Selysette. Musique de scène. This work uses traditional electronic technique to manipulate sound and create a eerie soundscape. The use of sound within the space is truly key within this work. The sounds are all around the stereo system and sometimes sound closer and further away.

Akaklaklak is more than a radio play - it is a radio performance - it is first a radio composition... - but also a study of the creative use of modern computer technology - further it is a trip to virtual sound in space - and an attempt to develop radio's acoustic story telling - Radio Art... also performed in other spaces with visual elements - it is a performance with authors playing live with their magic instruments - cycle of 25 mixed media paintings - an folia installation with 300 pictures on windows, glass portales - 300 folia pictures hanging in trees - 130 pictures on cork plates - an outside radio spectacle for a loudspeaker orchestra - live 8-track mixing, a five floor high vertical sound sculpture - a television documentary of authors' sound art directed by Iza Lewenstam Main instrument: Human voice, the paragon of all instruments Others: bird skulls, bones, wooden flutes, stones, bows, drums, bowls, hay, horns, seeds, sand, stamping tubes, rain sticks, bull-roarers, aerophones, rattlers, didgeridoos, dance tubes, computer programmes, samplers, multitrack tape recorders.

Alcoforado is a fuzzy, vaguely remembered portrait of a woman whose passion for passionate love letters will ensure her a place in history - as in the case of the original Alcoforado, a XVII century Portuguese nun who shared the same passion. Incidentally, this is all that is known about her but - one must admit - is sufficient to make one envious. Stanisław Ignacy Witkiewicz (also known as Witkacy), a Polish painter, writer and philosopher, was a man of unusual energy which he expended on opposing any and every kind of orthodoxy - whether artistic, political or religious. He was perceived as an enfant terrible of his time, rigorously antagonistic to the uniformity of dogmatism, seeing it as a tool for enslaving the mind. Witkacy foresaw very early on the disastrous results of one such ideology - communism. Stanisław Ignacy Witkiewicz remained faithful to his ideas to the last day of his life, committing suicide on September 17, 1939 - the same day that the Russian Red Army crossed the eastern Polish border, helping its Nazi allies in fighting Polish troops. In Witkiewicz's prolific artistic output, there is a number of portraits of women entitled Alcoforado. These portraits present …

Recording of Marie Pauline Esguerra's Abmon-Ulan-Alon. The title of this piece (Rain-rain-waves) reflects what is to be perceived as aquatic quality. Water and rain is the majority of sound material used in the piece, primarily in the way gestural sound objects, when iterated and developed in different ways, create larger, textural events, which continually shift the listener's focus.

"Anaconda" could be labelled as a "naturalistic" work. Conceptually, the piece relies on the imagery provoked by the sound, and on the immediacy of the sound world and the integration of the flute part in terms of sound texture and musical material. Broadly, this work can be divided in three parts: 1) The very beginning represents the location : jungle, unfamiliar, exotic, moist, exuberant and very importantly, claustrophobic ( this last is maintained throughout the piece). It is here that we get our first glimpse of the anaconda, who, very soon embarks with his song, which is not unlike a requiem, but at times, this song or narrative, is interrupted by the sound of the anaconda itself and by its environment. It is very much like moving between 1st and 2nd person. 2) The environment is disrupted. Foreign sounds and activities invade our location. The jungle moves, everything is in motion, fear and flight take over. But, suddenly, we realize that there is a certain gracefulness in all this motion, that the flight is but a retreat, a withdrawal into itself, nature and eternal life, with the certainty of a return. 3) The rebirth. Like the Phoenix, the Anaconda is …

Was initially conceived as vocal music for two choirs, however the computer realization, which I prepared in 1987, took over from this first conception and resulted in a piece that would be hard to define. A11 the sounds have been synthesized. They originated by direct sound synthesis on the WAX/EMS computer using the CHANT program. These sounds created in the first two minutes of the piece. The sounds for the subsequent 12 minutes which form a kind of variations, are transformations of the original material, either through digital reverberation and delay or using voices and sound layers super imposed onto one another. They were realized at the polish Radio's Studio Eksperymentalne" in Warsaw in 1989. The central idea of the piece is the progressive decomposition. Starting from the "realistic" vocal sound it leads onto more and more "electronic" idioms, which never less retain elements of their vocal origin. The world premiere of the piece took place at the Techno-Musical Biennale in Koriyama, Japan in August 1989.

Recording of Rodrigo Cicchelli Velloso's Arder.

A study on the coin as an object of reflection (sound value) and as a reference object (advertising). Like a frantic race to save time, the isolation of speed, the quest for the ephemeral. A look at human anxiety.

This piece is in guest of the real chances of a dream world coming true, whose incessant changes lead its way into an infinite make, only awakening opens gate a reality. A new space is created. The "water" is incessant struggies of life for realisation. It is the constant recurrence of hope, struggle, and annihilation. Reality is alarming; it would like to escape into a dream. Then everything begins again.

Recording of Barry Truax's Beauty and the Beast. This work is for narrator who also plays oboe d'amore and English horn, computer images, and two computer soundtracks. The computer graphic images and text were created by Theo Goldberg. This is a modern retelling of the traditional story of a young girl's voyage of self-discovery through her encounter with the Beast in the enchanted castle. This version of the story is a modern interpretation as suggest by Bruno Bettelheim in his 1976 book The Uses of Enchantment. Beauty and the Beast was commissioned by oboist Lawrence Cherney for the Musical Mondays series of young people's concerts, with the assistance of the Laidlaw Foundation and the Music Section of the Canada Council.

The music of this work is just made by sounds of the electronic bells of the Yamaha DX 7 II FD. There are no other sounds.

Recording of Thomas Bjelkeborn's Bilad.

Travel notes of a little white man in Africa. Shocked by this world, new to me, I tried to transcribe the sensations that I could have while traversing Madagascar: a shock of cultures, thoughts, way of life ... and the position, by always convenient of Western in this country. For each small movement (more or less chained) that could be the pages of a notebook, I looked for different qualities of sound rendering: distant images, flores, under water, opias, aging. ... And then that feeling of always coming back to the same thing ...

17 articles of the Declaration of the Rights of Man and Citizen extracted from the French Constitution of 1789 are read by a 100-year-old woman who was born in France and grew up on the island of Nuku Hiva in the "Marquesas Islands" . The sound materials of the piece were recorded there in December 1988. The work is dedicated to the village of Anaho.

Musical work for two pianos and electronics. An original work of meaning and form, it provokes the imagination for a moving journey that takes its source in the carelessness of childhood and continues through the difficult paths of the "things of life". There is a striking optimism and inexorable faith in one's own strength. The author is looking for a ford that will take him out of the disturbing contradictions of the century that is going away. The listener finds refuge in the musical images of childhood, but not for long ... Life is relentless, full of pitfalls, disparate, vibrant with dynamism. Could we for a moment take refuge in the memory? Soloists; Markrit and Esther Berberian